During the late 70’s and onwards leading Wigan Casino DJ Richard Searling had begun to move away from the more traditional four beats to the bar sound 60’s and was programming more soulful seventies, new and recent releases into his DJ set’s. One of the many records he championed was the b-side to a very obscure local Philly 45 release by the then unknown all male group, The Nu-Rons. Richard had obtained this elusive 45 from record dealer John Anderson on one of his many buying trips to John’s famous Soul Bowl emporium in Kings Lynn.

At the time Richard Searling was not only famous for the constant stream of new 45 discoveries he was continually playing but also for the ingenious cover-up names he bestowed upon them. In this particular case The Nu-Rons began their life within the UK northern soul scene under the cover-up name of ‘Lamar Thomas & The Chains That Bind’ under the title of “All Of My Life (Spent Waiting For You)”. Such was the volume of new finds in that period that even the most popular records were subsequently dropped in favour of the next discovery.

Following The Nu-Rons 45’s fall from grace on the wheels of steel, avid soul collectors would continue their search for this elusive 45. That was until following the birth of the genre later described as the ‘Crossover’ sound. The Nu-Rons soulful harmonies fitted the bill perfectly and with more copies now being in the hands of more DJ’s and collectors alike The Nu-Rons “All My Life” would in all probability reach the full height of it’s popularity and demand.

The Nu-Rons, were a family group consisting of two sets of brothers and cousins, the four young men in question being brothers Daryl Howard and Raymond Gibson (Daryl’s mother registered him under his father’s surname of Howard and Raymond under her maiden name of Gibson) together with Otho Bateman and Charles Bateman. They were all born and raised in Salem, New Jersey and from the age of ten and eleven began singing with a fifth member and Gibson brother Rudolph as a group called The Gospel 5. They eventually decided to crossover to secular music and as a group known for their energetic dance routines they came up with the new performing name of ‘The Nu-Rons’ (taken from the word ‘Neuron’ which is a cell that transmits nerve impulses). However Rudolph was soon to leave the group due to physical illness. Also Daryl Howard and Charles Bateman had also been part of a working group known as The Devotions prior to becoming The Nu-Ron’s.

Following hours of practice The Nu-Rons eventually felt confident enough to put their own shows together and began to perform at local dances and parties around New Jersey and Philadelphia, often being used as a non-paid warm up act for bigger named artists. They moved between several different managers including Jimmy Bishop (Duo Dynamic Productions) until they came under the tutelage of WDAS radio DJ Georgie Woods (his wife Gilda, being the owner of the Philadelphia Gil, Dion and Top & Bottom record Labels). It was Georgie who introduced them to Manny Campbell who in turn invited them to an audition at his and partner Charles Bowen’s Emandolynn studio in Chester P.A. The song The Nu-Rons chose to audition with was the self penned “I’m A Loner”, the audition went well, as during late January/early February of 1970 Manny and Charles took The Nu-Ron’s into the Sigma Sound Studio’s with Tom Bell and the TSOP musicians to record “I’m A Loner” and “All My Life” which was released on the Nu-Ron label (H1060) in April of the same year.

During 1975 the Nu-Ron’s entered the Sound Room studio in Upper Darby P. A. to record two more Campbell and Bowen songs, “Disco Hustle” and “Can’t Do Enough Girl”. “Disco Hustle” (Stage-Art 1001) was a new song prevalent to the shift towards the disco boom in Philly. While the b-side “Can’t Do Enough Girl” was a sweet soul ballad previously recorded during a demo session in 1971.

(The Nu-Rons in 1978)

The Nu-Ron’s “All Of My Life” faired reasonably well locally in Philly although it would be through the record later finding its way to England and into the hands of first Northern Soul and later Crossover DJ’s that the 45 would achieve its greatest notoriety. While in recent years with the shift to a more funk orientated sound, their song Disco Hustle recorded under the artist name of ‘The Nu-Rons & Co has too grown in demand. Here before you now is the Nu-Ron’s two most in demand sides back to back for your delectation. The Nu-Ron’s are still working and recording today although as a group of three, with Raymond Gibson having sadly passed away.

Ironically during Manny Campbell’s later relocation to Atlanta, GA during the late 70’s he took the decision to take the remaining 2000 unsold back stock copies of “All My Life” in his possession to the dump !

The third volume of our “We Got A Sweet Thing Going On” series returns with yet another esoteric mix of sweet and group harmony soul. This compilation features both sides of The Scott Three’s in demand rarity “Running Wild (Ain’t Gonna Help You)/Gotta Find A New Love” they are joined by fellow Georgian Robert Montgomery (check out his two recent Soul Junction 45’s) with his previously unissued recording “Love Song About You”.

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The City of Brotherly Love is heavily represented in this compilation with acts such as The Toppiks with both sides of their desirable Larsam 45 “Give It A Chance To Grow/Surrender” and their previously unissued track “Win All Your Love” a recent release on a Soul Junction 45 (SJ1009) as the flip to The Cooperettes version of the same song, a double dose of Philly soul heaven.

One side of Bobby Banks solitary Gil label release “Read It And Weep” is followed by Music Machines unissued sweet soul gem “Imitation Of Life”, originally recorded as the flipside to their Red Coach label outing “By The Hair On My Chinny Chin Chin” then inexplicably dropped in favour of an instrumental version of “Chinny Chin Chin”!

The sound of Philadelphia continues through The Delagates Of Soul’s emotionally charged “Lucky Guy I Am”, The Four Thoughts “Plain As The Nose”, The Coalitions “Nothin’ Left 2 Do” and the all girl group The Jonesetts Cougar records double sider “Once I Had A Love/Stop Look Listen” With older sister Karin Jones later going on to record the respected solo album “Under The Influence Of Love” (Handshake Records).

Chicago group The Flairs are featured with their recently reactivated mid tempo dance floor favourite “You Got To Steal It” the flipside of their Rap 45 “Where You Live” is also included a great song that needed to come out of the shadows of it’s more illustrious A-side.

Detroit outfit The Holidays are represented through two of their own productions the uplifting dancer “I’m So Glad (That I Met You)” and their, oh so soulful “This Is Love (A Little Understanding)”.

The final act featured is Cleveland Ohio’s The Donations with their mellifluous “I’m Going To Treat You Good” a group that later became World War III who recorded the currently very apt “If The Bomb Falls Were All Going Together” !

For further information please contact Soul Junction at:

Tel: +44 (0) 121 602 8115 or E-mail: sales@souljunctionrecords.co.uk

To buy got to Soul Junction’s website at http://souljunctionrecords.co.uk/SJCD5014.html

This product is available in both CD (with bonus track) and Vinyl formats.

In 1969 a local Philly group, The Intrigues, hit pay dirt with their self penned song “In A Moment”, initially released on their own Bullet label. This Thom Bell and Bobby Martin song was later picked up by the NYC Yew label and made it to #10 in the R&B charts that same year. An album entitled “In A Moment” and a further five Yew 45’s followed although none of these were able to replicate the success of their initial hit.

Following two 45 releases on GRT’s Janus label in 1972 “To Make A World/Mojo Hanna” and “I Wanna Know/Fly Now-Pay Later”, The Intrigues, Alfred (Al) Brown, Ronald Hamilton, James Harris and James Lee Jr later disbanded. Once again Al Brown was looking to form another group and fortuitously for him found another Philly outfit The Coalitions of “Instead How Are You” (and later Soul Junction) fame who having temporarily lost their own lead singer Tony (Talent) Anderson, merged with Al to form a new version of The Intrigues.

This new line up included Al Brown, Alan Williams, Stephen Ferguson, Milton Williams and Bruce Fauntleroy (See Front Cover Photo). AL Brown would also double up as the group’s choreographer. The Intrigues by now were performing shows arranged for them through a New Jersey booking agent by the name of Lucille White. It is reputedly believed that Lucille White was responsible for introducing The Intrigues to record producer James “Channey” Turner a colleague of the Steals brothers, which resulted in The Intrigues going on to record the five featured songs that were written by Mervin “Mystro” and Melvin “Lyric” Steals.

The Steals brothers, being former members of the group The Four Perfections who recorded the northern soul anthem “I’m Not Strong Enough” (Partytime 1001) a song they also co-wrote, went on to become one of Philadelphia’s most prolific song writing teams, either under the own names or the pseudonym of “Mystro & Lyric”. Some of their other notable credits include, Magic Night’s perennial favourite “If You And I Had Never Met” (roulette 7153), Ecstasy, Passion And Pain’s “I’ll Do Anything For you” (Roulette 7182) a song later covered by Lee McDonald on his desirable “Sweet Magic” (Debbie 0001) album.

But the real jewel in the crown of the Steals Brothers extensive song writing catalogue is the 1972 Atlantic records million seller “Could It Be I’m Falling In Love” which they wrote for The Spinners while sitting on the front steps of their Mother Leola Steals house.

Returning to The Intrigues, it was during 1978 that the new Intrigues under the supervision of the Steals brothers and James “Channey” Turner entered Bill Holland’s New Jersey Studio to record a proposed album project with only the five featured Steals brothers penned songs being completed before the group disbanded. Although never issued back in the day, the recent discovery of a studio tape by Alan Williams has at last given us the opportunity to give these fine examples of the Philly Soul Sound the exposure they richly deserve. It is Alan Williams who provides the lead vocals on the uplifting title track “If The Shoe Fits” and again on the other two movers “AM To The PM” and “Give Her The Love That She Needs”. With Milton Williams leading on the sumptuous ballad “Let Me Love You Tonight” and Stephen Ferguson too displaying his prowess as a balladeer on “You Are So Dear To Me”. Philly Soul at it’s very best!

During 1979 Tony Anderson returned to the Coalitions. When he, Bruce Fauntleroy, Stephen Ferguson, Alan Williams and Milton Williams embarked on recording their own album project entitled “Colour Me Blue” after two years in the making this album too was to remain unissued. A situation later resolved with its eventual release on Soul Junction (Catalogue number SJLP5006) to great acclaim in November of 2013. This collaboration between The Coalitions and Soul Junction continued into 2016 with the production and release of their excellent Nothin’ Left 2 Do” 45 single (SJ535). A new recording with the throwback sound to the days when every street would resonate to an all male group harmony sound. The Line up on this song is Leonard Deans, Tony McFarland, Bruce Fauntleroy, Alan Williams and Tony Anderson.

N.B Tony Anderson is none other than the Coalition’s founding member, William Anthony Anderson who as a 12 year old singing sensation under the Stage name Of “Little Tony Talent” recorded the northern soul rarity “All That’s Good Baby/Your Too Young” (Symbol 218) a subsidiary of Juggy Murray’s Sue Label during 1966.Followed a year later by his second and final solo release the Van McCoy penned and produced “Gotta Tell Somebody (About My Baby)/ Hooked On You” (Vando 3001)a further New York based label, owned by McCoy and his partner Douglas “Jocko” Henderson.

Melvin and Mervin Steals are still today plying their trade as song writers and producers in partnership with Detroit main man McKinley Jackson under their Mac Mer Mel Production company.

The mighty ‘Three M’s’ are currently producing a CD EP project on the Chairman Of The Board (Featuring Ken Knox) entitled “Words Left Unsaid” due for release soon on their MoPhilly International Records label.

Robert Montgomery returns with his follow up release to his immensely popular SJ1007 45, “I Need You Girl” with two unissued cuts, the modern soul dancer ‘Time Of The Day” backed with “Take Me High” a more modern ‘boogie’ soul orientated song.

Following on from the release of Robert’s solitary US 45 “I Need You Girl”, on the Crescent label during 1976. Robert spent a period of some 12 months touring with a group called Villaruz, that over, he decided to relocate to Atlanta G.A sometime during 1978.

Following an invitation to join a band he’d over heard rehearsing as their keyboard and organ player, Robert began a short tenure with the Michigan funk group “Ripple” who themselves had previously moved to Atlanta upon signing with GRC Records. Ripple recorded several hit singles for GRC including “I Don’t Know What It Is, But It Sure Is Funky”. Followed by the seminal album “Sons Of The Gods” for Salsoul Records in 1977, which featured their perennial disco/hustle classic “The Beat Goes On And On”.

During a later period of reconstruction by Ripple’s band leader and percussionist Brian Sherrer, Robert using the musicians from Ripple embarked on a vanity project of his own to record four songs that he had composed. Although these songs remained unissued, two of them are now to be released on a Soul Junction 45. The modern soul dancer ‘Time Of The Day” backed with “Take Me High” a more modern ‘boogie’ soul orientated song (Catalogue number SJ537).

While a third track, the excellent ballad ‘Love Song About You’ will also be making it’s long awaited debut as part of the forthcoming “We Got A Sweet Thing Going On” Volume 3 compilation. These tracks were to be Robert’s last attempt at a performing career, by then being a married 28 year old, he decided to put more emphasis on his family life. In doing so he turned his back on a full time musical career and entered a new career in the insurance business where he worked as an insurance agent for the next 30 years.

Robert for many years remained oblivious to the interest in his melodic piano driven Crescent 45 outing “I Need You Girl” within the European modern soul fraternity. Now with Soul Junctions intervention Robert now has three highly collectable 45 releases to his name.

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Joey Jefferson is a well known producer and label owner that released many excellent 60s soul sides. Breakthrough & Mutt & Jeff are two of Joey’s labels that are of the most interest to Rare & Northern Soul collectors. The most highly sought after 45 on Breakthrough is of course by “No One Else Can Take Your Place” by the Inspirations. Over the years myths and misinformation has surrounded the recording. Johnny Hendley who recorded solo on Mutt & Jeff and later on TIE as John & The Weirdest is just one. He was reputedly the lead singer with the Inspirations. However, during a recent trip Stateside by Kev Roberts who met once more with Joey this myth was dispelled once and for all.

The line up of the Inspirations, an LA vocal group, consisted of John Gibson who sang lead. Other members include brothers Huey and Lou Bell plus Charles Perry who was on MGM/Magnum, Charles Diamond (real name Charles Pennywell) was also in the studio doing backing and as we will find out he was soon to cut his own take. This line up was confirmed to Kev by Joey in a recent conversation. The group went into the studio and recorded the track sometime in 1966. The group however were courted by Motown’s West Coast office and they refused to sign a contract with Joey. With just a few 45s escaping and the group in dispute with Joey over a contact the recording was pulled and consigned to the vaults.

The Fairlanes

Charles “Diamond” Pennywell was born in Shreveport, Louisiana, the third largest city in Louisiana after New Orleans and Baton Rouge. The city has a rich musical heritage from soul to gospel, R&B to country and much more and was the home for many of music’s major acts. Charles was also a childhood friend of Joey Jefferson who would have a part to play in the future musical career of Charles. Charles began singing at the age of ten. It would be high school where he began to take it seriously. Along with fellow school friends, Eddie Lejay, Thomas Odom, Steve Ross they formed the The Fairlanes, named after the Ford Fairlane and keeping with the doo-wop tradition of naming the group after cars, The Cadilacs etc. The group’s first release in 1959 was to be Seventeen Steps” b/w “Johnny Rhythm” which came out on Dee Marais’ Lucky Seven label and in the same year for Pappy Dailey’s Dart label out of Houston, TX the group released “Just For Me”. They would also record for Eddie Shuler’s Tic-Toc label releasing “You’re Lonesome Now” in 1961. Charles would record solo for Smash with “Web Of Love” b/w “It’s So Funny I Could Cry”.

Charles as mentioned was doing backing vocals in the studio whilst the Inspirations cut their take or takes of “No One Else Can Take Your Place”. It is highly likely Charles Diamond cut his take during the same session, if not the same session it would be very soon after.

Alas, Joey Jefferson would lose interest in the recording and it would be shelved. Charles Diamond, soon after laying down his vocals to “No One Else Can Take Your Place” would become a member and sing lead vocals for the vocal group The Sunlovers and whose members would be Eddie LaJay who was a member of the Failanes alongside Charles and childhood friend and Robert Tisby. I have read a conflicting biography that the groups members were also those that recorded as The Inspirations. If this is true then I guess Joey didn’t bear a grudge, not when money was to be made through music. I find this unlikely though due to the dispute over a recording contract the Inspirations had with Joey. The line up of Charles, Eddie and Robert came from an interview conducted with Charles a few years ago.

The Sunlovers

It would be the Sunlovers and his other label interests that would be the focus of Joey’s productions and “The Inspirations and “No One Else Can Take Your Place” was for the foreseeable future history. The Sunlovers would record for amongst others Joey’s Breakthrough & Mutt & Jeff label. “My Poor Heart”. was the first release in June 1967 released on both Breakthrough and Mutt & Jeff. “You’ll Never Make The Grade” came next and “I’ll Treat You Right” being the third and final release on Mutt & Jeff. None did anything nationally despite selling regionally. The first two would however become popular on the UK Northern Soul scene in later years alongside the Breakthrough release by the Inspirations and other releases by Joey Jefferson.

When asked most collectors and dancers remember first hearing the Inspirations record via Colin Curtis at the legendary Blackpool Mecca. This copy however belonged to Neil Rushton. Neil purchased it for £32, two weeks wages, blind from Bob Cattaneo of San Francisco. This was the first copy to arrive in the UK and Neil as well as playing it himself at venues such as The Ritz in Manchester would take it to the Mecca for Colin to play, this would be late 1973 or 1974 according to various memories. Some years later, whilst the disc was still a one known copy 45, Neil would sell the record to Ritchie Andrew of Wales for £120, something Neil regretted.

Meanwhile, Bob Cattaneo had been in contact with Joey and during the conversations it transpired Joey still had the masters for “No One Else Can Take Your Place”. Bob relayed this to Neil and a deal was struck through Bob to get 1000 pressed up, this was 1977. However, when the records arrived in the UK Neil was bemused that it was not the same as the record he had bought from Bob and played around the UK but a totally different take. It transpired that Joey had used the wrong take and the vocal recorded by Charles Diamond and not the original Inspirations was used for the release. It was though an excellent recording in its own right and all copies have now disappeared into collections and when one does come up for sale it is now commanding a three figure sum. The Inspirations though has never turned up with just a few known copies and commanding a figure of several thousand pounds.
As for Johnny Hendley, his whereabouts are unknown although Joey is actively attempting to locate him.

Charles Pennywell would continue to record into the 70s and is still touring to this day with his band.

Soul Junction favourites The Coalitions return with a brand new recording done in conjunction with Soul Junction. Their album “Colour Me Blue” is a firm favourite with Soul music lovers with tracks picked up b Djs and dancers alike. Here we see a brand new recording backed with one of the favourites from the 2013 album release.

Press Release: The Coalitions (a.k.a Rheel Menn) “Nothin’ Left 2 Do/Didn’t We Almost Make It” SJ535

Release Date: Monday October 17th 2016

The Coalitions (also known as The Rheel Menn) return with a brand new song entitled “Nothin’ Left 2 Do” a song recorded and produced in collaboration with Soul Junction Records during 2015 under the auspices of some of the City of Brotherly Loves finest musicians. We begin with the songwriters Lavern Bynum, Bruce Fauntleroy and Leroy ‘Shu-Baby’ Shuller. With the songs recording and mixes have been expertly done by producer, Craig White at Sound Doctor Productions LLC. Craig was the former studio manager at the world renowned Gamble & Huff studios. The mastering was done by Peter Humphrey’s at Masterwork Recording (USA).

2016 finally sees the initial release of “Nothin’ Left 2 Do” a song of forlorn hope for a former lost love, that’s oozes class from the opening horn riffs executed beautifully by Henri McMillians UGO Horn Section. But despite the songs sad lyrics the overall mood of the track is very pleasantly uplifting. The line up on this song features Philadelphians Leonard Deans, Tony McFarland, Bruce Fauntleroy (the songs co-producer), Alan Williams and Tony Anderson (a.k.a Tony Talent) who’s vocal ability is a throwback to the days of when nearly every street corner in many major US cites would resonate to a all male group harmony sound.

A sound that these five gentlemen still regularly perform as a latter version of one of Philly’s finest harmony outfits ‘The Intrigues’ in the 360 Lounge of The Parx Casino.

The b-side of this single features the now familiar “Didn’t We Almost Make It” a previously unissued 1979 recording that gaine its initial release as the opening track on the Coalition’s previous unissued album project “Colour Me Blue” (SJLP 5006) released during November of 2013. Although the whole of this acclaimed album received extensive airplay it was the opening song “Didn’t We Almost Make It” that really caught DJ’s and radio listeners imagination and prompted callers to beg the question as to whether we (Soul Junction) would ever consider releasing it as a 45 vinyl single, a call that we hope has now been answered. A slightly earlier and different line up recorded this song Tony Anderson (Talent), Alan Williams, Bruce Fauntleroy, Milton Williams and Stephen Ferguson being the performers responsible.

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In May of 2016 Alberto Zanini…otherwise better known as Alberto “Folpower” Zanini, was digging in the States for records not just for personal use but maybe unearth something he could release on he relatively new label, “Cannonball Records”. I have to say the label has in my opinion one of the best looking labels around, anyway I digress! Towards the end of his trip he was in Michigan and stopping with Brad Hales. The idea was to help Brad move stock into his new premises and to listen to some unissued masters and acetates.

After several hours listening and several beers and just before retiring to bed the needle was dropped on one final acetate. Alberto describes it as being “90bpm of heartfelt poetry”. The disc was clearly recorded as a demo, very sparse with just the light subtle piano backing of which you could only hear the higher notes but the “deep tone and the vibrato of the vocals” as Alberto puts it were out of this world.

The acetate was credited to Big Lee Dowell who after some research was revealed to be actually Lee Dowell Frazier. Buffalo born Dowell was signed to Epic records and brought to New York to record two tracks, both produced by G. Denby, “Don’t Make Me Mad” and “Black Belt”, both of which went in the soundtrack of what has been probably the first movie about gangs and social youth problems. We are speaking of 1966 and Teenage Gang Debs took to the big screen for the first time the problems of the youth living in the tenements of Brooklyn and in all America’s big cities and depicts the lives and loves of a young generation trying to survive the brutality of gang life.

What happened next to Big Lee as he was professionally known is a mystery and he totally disappeared until this New York labeled acetate was discovered in Detroit.

Alberto loved the track so much he decided to release it on his own Cannonball label, it would be the labels fourth release. Alberto only had basically the vocals so a whole new musical structure was laid down. Alberto took the track to Maxin Moston, a regular on the stages of Broadway and it was he who laid down the strings, two different lines of Violin and a line of Viola. The other instruments we all laid down by the Cannonball Collective, Max Gallesi (Steinway, Wurlitzer and Rhodes), Alex Class on Bass and Guitar and Max Po on Drums and Percussion.

Alberto even bought a late 70s full analogue mixing desk in an attempt to create the authenticity of the time, an authenticity the Cannonball crew have essentially nailed because nothing I have heard would have been out of place in the 70s, amazing work and dedication to the cause.

Needless to say the 45 upon release became one of the anthems of the summer on the Northern and Rare Soul Scene, “Feel-good music at its finest” it was described by one of Alberto’s closest friends.. The press, limited to 500 sold out extremely quickly and demand saw the price rise into three figures as demand from Djs and collectors rose. The 45 has seen extensive play on radio shows and at venues all around Europe.

To satisfy the demand created by the track Alberto decided to release a twelve inch take.

The initial take was extended to just over seven minutes, a new piano backing was added and double congas. Just like the 45, the vocal is then followed by the Steinway instrumental. The beat for the instrumental was dropped from 115bpm to 110 making it a more leisurely listen, the arrangement of this I really do like.

The flip side see’s two remixes, one from Steve Cobby and one from Alberto. These are aimed more at the dance market rather than the Northern/Rare Soul Scene in an attempt to widen the appeal of the track. None of the instruments are produced via a computer, all the work is with proper instruments, Fender Rhodes, Wurlitzer and Gibson Les Paul all complimenting the stunning vocals of Big Lee.

September the 26th is the date for the release of the twelve and it is likely to sell very quickly with 200 or so advanced orders so do not delay, get your order in now. As I mentioned earlier Big Lee was the fourth release and all four have sold out, pretty impressive for a small independent label.